Tastemaker: Ann Powers

Ann Powers has written for a who’s who of
respected publications. The Seattle native began her career at The Rocket, one of the first magazines to
help break grunge acts like Nirvana. She went on to become editor and columnist
for San Francisco Weekly, and pop
music critic at The New York Times as well the Los Angeles Times.
However, since 2011 she has curated NPR music blog, The Record, making music predictions on
everything from R&B and pop to dance music and rock.

Working remotely
from her home in Tuscaloosa, Ala., a typical day will have Ann catching up on “whatever new music is
out that week—not just albums, but mixtapes, what’s on Soundcloud, [and] stuff
that’s causing a sensation on YouTube.” Here, she chats about her first writing
gig, the appeal of talking about music day-in and day-out, career advice for
new music writers, and her favorite artist interviews over the years.

Get In Media: When was your first paid
writing gig? What was the subject?

Ann Powers: I grew up in Seattle
and started out writing about local bands for my high school paper. This is
pre-grunge! I covered New Wave and punk bands. I was approached by an editor
for the Rocket, the legendary Seattle
music magazine that later helped break artists like Nirvana and Mudhoney. My
first article was about a band called Fred—my cousin and my boyfriend were both
in the band, so I had some things to learn about conflict of interest! The
first rock star I interviewed in person was Joan Jett. Her brilliance, attitude,
and eyeliner techniques changed my life.

AP: Since I was 10 or so,
I’ve looked to music to help me understand my own emotions and the ways people
treat each other in relationships. It’s my map of the human heart. Later I
learned to read music and understand that it’s also this endlessly complicated
language. And of course, it can help us understand the history of our nation—jazz,
rock, soul, funk … those are the American art forms.

GIM: Describe an average day as an NPR
music critic.

AP: I live in Tuscaloosa,
Ala., where my family moved when my husband [rock critic Eric Weisbard] became
a professor of American Studies at UA in 2009. So, obviously, I work remotely.
An average day involves trying to catch up on whatever new music is out that
week—not just albums, but mixtapes, what’s on Soundcloud, stuff that’s causing
a sensation on YouTube. I read other music websites like The Wondering Sound and Soulbounce,
and aggregators like The Daily Swarm,
to see what’s happening. There’s always something new to contemplate and
comment on.

I
do travel a lot and see as much live music as I can. This summer I’ll be in
Nashville for a while, and then Los Angeles. When I’m in a bigger city I spend
a lot of time checking out music and movies, too—all the popular arts are related.

GIM: What has changed about music
criticism in the 90s versus music journalism in 2014?

AP: The huge difference
is that we’re all online now. The move away from print destroyed the
conventional careers my peers and I could once pursue. You can’t get paid the
way you once did for a music feature, and staff jobs are few and far between. I
am really very lucky to have been able to sustain myself doing what I do,
considering this transition.

On
the up side, the infinite expandability of the Web means that so many more
voices are out there participating in the critical conversation. And I love the
ongoing conversations made possible by social media. I do wish we would all
take a collective breath sometimes, though. Snap judgments and the perceived
need to weigh in on everything diminish criticism’s depth.

GIM: For someone looking to enter the
field of music journalism, what career advice would you give them?

AP: Learn multimedia.
That’s obvious. At the same time, hone your skills as a writer by reading a lot
of books, not just blogs and Tumblrs. And spend time really listening to music.
See as much live music as you can. But wear earplugs! I’ve lost a good amount
of my hearing because I stuffed napkins in my ears at too many shows when I was younger.

GIM: As with any job, there are pros
and cons to it, what are yours?

AP: Music writing isn’t
always respected as its own pursuit. A music writer has never won a Pulitzer. I
think many other journalists feel that anyone can do it—everybody likes music,
right? But it does demand a strong self-education and the development of an
ear, as well as a critical vision. What’s the pro? Well, you get to think about
music all the time! That’s unbeatable.

GIM: You’ve been at NPR for three years
now, culminating in (dare I say) a 30-year career as a journalist. Have you had a “pinch me” moment yet, like
this is my life? I talk, write, and debate about music all day and I love it.

AP: Sure, but it is work, too. Most of my time I’m
sitting at a computer, alone. I’m not complaining though.

GIM: Interviewing your favorite artists has to be one of the true perks of
music writing. That being said, who has been your most favorite to chat with?
Have you ever been star struck? And who was it?

AP: I always
say interviewing Prince was the high point. And doing the book with Tori Amos—Tori Amos: Piece by Piece. I’ve been
able to meet many people I admire so much, and engage in serious conversation
with them. The Pearl Jam guys are special to me. I’m glad I met Bono and the
rest of U2. Bruce Springsteen! Bonnie Raitt! I found Garth Brooks fascinating.
I was lucky to interview Amy Winehouse before she passed. The list goes on.
Right now I’m excited about younger artists I get to help out as they rise,
great songwriters like Alynda Lee Segarra from Hurray For the Riff Raff or
Sturgill Simpson.